Nadège Vanhee-Cybulski’s presentation for the Autumn Winter collection for Hermès this year proposes a different act altogether - three acts, to be precise. Shooting in New York, Paris and Shanghai to capture the experience of being in multiple places and to be live in that space brings back that element of live risk that is exciting and not provoking existential dread in isolation. The first act strongly reminds me of Luca Guadagnino’s superior take on Suspiria, even in the music I can hear Thom Yorke skulking around, merging into the astounding grandness of musicals from the 50s - huge spaces being occupied by performers who are quite obviously loving every moment, even having a sumptuous bird’s eye shot with geometric shapes. An undeniable tone, outfitted with the base silhouette of the collection; sleek with high necks and effortless skirts that are made to be moved in with plié and plissé hinting towards the handfelt nature of this season’s offering. The second act provides a runway amongst hundreds of Hermès boxes, bringing forth a tweaked Parisian uniform in an earthy colour palette, of course featuring the signature orange, made of pops of mint, subdued whites, reds, greys, browns and blacks with a few demin looks and a white-on-black check for good measure. Continuing this season’s undeniable exploration of the tactile as a shadow of real human interaction with a dose of suede, leather, wool and satins is unfortunately held back by unnecessary cinching and cropping at the waist - the collection does not seem to get comfortable and misses the opportunity for some power tailoring. The fringing featuring in multiple ensembles does not add anything and takes away from the power of the more elegant touches, like the brown suede shift dress with a square industrial leather neck. But with all of this, I do have to say that the inventive use of leather panelling in the more minimalist looks is a welcome detail that really provides an edgy quality - the magic in Suspiria, if you will. I expect to see this particular look in a film of Call My Agent (Dix Pour Cent), if they ever make it. And the boots on every model? Literally perfect. The third act offered five dancers rearranging orange boxes, not to their discredit, reaching a conclusion that is unclear and seemingly unconnected from the previous two acts. Decked out in check jumpers and leather trousers, the dancers twist and twirl and run around to an ever building techno climax, hinting at a codependent conflict between two characters. I may be a snob but I would be more invested in the show and the achievement of pulling off this production in three separate continents at the same time, but the disparity between all the acts feels like the result of an unfinished thought. Really good progress but it needs a final emotional note and resonance to really *feel* complete.
Companies
Hermés
- Fashion and Textiles
